Critical Acclaim

remarkably powerful and intense… fine technique and musicianship in the service of an arresting array of music

— The New York Times, Anne Midgette

her technical skill was dazzling, and in the softer, more intimate conversations between piano and orchestra, her depth of feeling and delicacy of touch were mesmerizing [Frank Symphony Variations, New Beford Symphony Orchestra]

— South coast today, Laurie Robertson-Lorant

The piano solo in the second movement [Ravel concerto] provided a glimpse into Weiss’s ability to make her instrument emote the feelings beneath the composition…The third movement picked up the pace with energy befitting a presto and called upon Weiss to exhibit fantastic fingering skills

— Redlands Daily facts, Steven Sabel

Yael Weiss showed herself to be a pianist who delves deeply and tellingly into that cloudy area where fantasy morphs into improvisation, inventiveness being common to both.

— The Washington Post, Cecelia Porter

Pianist Yael Weiss played with a golden touch that could do no wrong. What refined nuances of color and dynamics!

— Classical Voice North Carolina, William Thomas Walker

Ms. Weiss is a spunky, compact woman who radiates energy, and that translates both to a startling clarity in her classical-style runs and the sort of jovial spirit this piece needs…Ms. Weiss’s walking bass line, topped with a right-hand aria, reminded me of Richard Goode’s sparkling Mozart, but her voice had a different sensitivity, which showed itself in the harmonic crises of the third movement: There was an impulsive fire in each Romanticized fermata that foreshadowed a surprise ending

— The New York Sun, Adam Baer

Every moment felt new

— Philadelphia Inquirer, David Patrick Stearns

Weiss played these pieces [all-Schumann recital] with as much nimble sensitivity, as much thoughtful sympathy, as anyone could wish for

— The Santa Barbara Independent, Gerald Carpenter

Weiss’s sensitivity to Brahms – indeed, to the profound and subtle gestures of late Brahms – was made ravishingly clear by her performance of the three Intermezzi, Opus 117. The C-sharp Minor, in particular, was played with infinite somber delicacy: an autumnal vision of life’s tragedy, in which all grief has been pared away, and nothing is left but a resigned, welcoming sadness

— San Diego Reader, Jonathan Saville

Yael Weiss presented a passionate performance of Ravel’s Piano Concerto in G Major with the Chautauqua Symphony Orchestra. Her touch and temperament found its fullest expression in the melancholy second movement , which she played with notable concentration in a dreamy contemplative, soulful manner

— The Chautauquan Daily, Chuck Klaus

No technical complexity seemed to deter her, nor was her playing at any time devoid of temperament. Weiss had mastered every tortured twist [Copland’s Piano Variations], the pounding octaves, the quixotic runs… Here was bravura pianism

— The Herald-Times, Peter Jacobi

The Ghost Variations are interpreted beautifully by Weiss – embodying the vulnerable, passionate side of Schumann while also capturing his complex, introspective emotions. …a musical triumph

Soloist Yael Weiss also danced with panache up and down the piano keyboard. Her fingers were perfectly choreographed for incredible Promethean runs through Beethoven’s [Third] Concerto for Piano and Orchestra. Weiss gave us melody and fireworks at the same time. Each note rang with clarity and sparkled with feeling, especially in the quieter moments like the entire second movement.Her playing was meditative, like slow-motion choreography in perfect balance. All the while, orchestra’s calm strings underlined the piano, making it appear to dance on clouds. The third movement was both ballet-like and sprightly as soloist Weiss and the Greater Bridgeport Symphony dancing chorus happily skipped along with sunshine in their hearts

— Connecticut Post, Joseph Pronechen

Weiss is a consummate musician with an impeccable technique and an effortless approach””She exhibits a fine musical craftsmanship, shaping the overall work with ease and clarity””I admired the fluidity of her tone and phrasing, and her depth and variety of colour through the soft end of the dynamic spectrum